The purpose of this is to classify the categories of Hwansool(幻術), to understand the effects of Hwansool within other plays, theatricals performances, and exorcism to discuss the characteristics and universality of Hwansool in East Asia(Kore...
The purpose of this is to classify the categories of Hwansool(幻術), to understand the effects of Hwansool within other plays, theatricals performances, and exorcism to discuss the characteristics and universality of Hwansool in East Asia(Korea, Japan, China). Hwansool in today’s form is a magic performance(魔術) in which the performer evokes illusions and hallucinations in a variety of ways. Previously, Hwansool has been discussed only in terms of the trickeries that make the audience hallucinate, and categorized as a kind of “Sanakbaekhui(散樂百戱)”. In this , unrealistic and miraculous phenomena are discussed as an important element of Hwansool for encompassing the materials.
According to the perspective of the viewer, Hwansool can be divided in to seven categories. The first is to create nothing into something, which includes fishing with empty fishing rods(釣魚), eating immediately planted ginger, jujube, cucumbers(種瓜), taking medicines out of a pot(聖花撮藥), brewing alcohol from an empty bowl(撮米酒), making something from hands such as releasing animals pulled from an empty box(撮放生), letting down snow(桂樹白雪), making lines on the ground and creating streams(劃地成川) and the environment such as rising fog(雲霧杳冥). The second is to change the location of a person or object. Its repertory contains floating in the air(飛空), suddenly and feely appearing or disappearing(遁術·鵝籠變幻), moving through any object(入壺舞·入馬腹舞) and moving position repeatedly(斗棋). The third is to change the original appearance of people, animals or objects. In the three countries within East Asia, records on cases where the “Ham ri(含利·舍利)” transforms into a fish or dragon(魚龍曼延), are commonly found. Additionally, transformation(易貌·分形) such as changing the appearance, written letters, changing colors of a picture, or transforming stone and sand into cash(變金錢) can be example performances in this category.
The fourth is to hurt or endanger a person or animal, and the fifth is to restore to its original state. The fifth is advanced form of “severe punishment Hwansool(酷刑幻術)”, passed down from Han(漢) Dynasty western regions of china(西域), and divided into two types. The fourth type is mentioned in most of the literature. Representative performances among the three Asian countries are swallowing swords(呑刀) and vomiting fire(吐火). In Korea, harming others(厭勝) during the acts stands out in this category. Examples to the fifth category are acts which cut off body parts such as the heads, guts, and tongue and restoring them(支解), restoring cut silk or rope(斷絹), and the escape of the performer who has been bounded down(自縛自解).
The sixth is to predict the audience’s future and thoughts. Although this type of illusory act had not garnered much attention, it has involves identifying a person’s thoughts or predicting his or her future. ‘Ju Yeongheung(朱永興)’s “psychology Hwansool(心理幻術)” is the only record which carried out a performance without the magical purpose. Lastly the seventh category which is the combination of two or more illusory categories possesses a characteristic different from typical theatrical acts due to its unpredictability to the outcome due to much variability. Examples are acts which move small objects with quick and skilled hands from performer(泥丸) and changing material compositions of coins and other handicrafts(錢戱).
Meanwhile there has been a combined theatrical called “Sang Hyeonggi(象形技)” at China’s large scale performances in Han Dynasty palace which highlighted the theater’s layout and performance themes. The illusory acts in these acts had been used to visualize the martial arts and other skills and the dramatic characters in the performances. This occurrence continued to genres like drama and theater, being utilized in “Transformation(變身)” and “Tohwa(吐火)” at “Kunju(昆劇)”, “Peking opera(京劇)”, “Sichuanese opera(川劇)” in China, and Tohwa at “Kabuki theatre(歌舞伎)” in Japan. Unlike China or Japan, in Korea there had been an absence of a theatrical plays since the ancient times. Therefore the illusory acts were used during exorcism procedures.
The universality of the East Asian countries is that all countries originate from “witchcraft(巫術)” and “shamans(巫)”, “ascetic(方士)” and “monks(僧侶)” had developed the content and techniques for enhancing their supernatural abilities. Also, Hwansool was passed down in accordance with religious propaganda and exchange of a culture, and the roots come from countries named Han Dynasty ‘western regions of china’. Acts which had been commonly popular in China, Japan, and Korea had been “Ou Ryongmanyeon(魚龍曼延)”, “Jonggwa(種瓜)”, “Dunsul(遁術)”, “Iphomu(入壺舞)”, “Tando(呑刀)” and Tohwa. Without referring to “Shinseon Seolhwa(神仙說話)” or “Jigoe novels(志怪小說)”, only Tando and Tohwa has been the kind of performances really enjoyed by all three countries. Furthermore, the illusory takes of the three counties had each been selectively acquired with consideration to their own cultures. The elaborations had been refined in the each country’s characteristics of illusory acts part.
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